iMac Music

Year
2013 / 2015 / 2017

Audiovisual performance with iMac G3 computers, parasitic electronic circuits

Supported By

Fonds Podium Kunsten Dutch Performing Arts Fund      STEIM Studio for Electro-Instrumental Music Amsterdam     

iMac Music at transmediale festival 2017

iMac Music is an ongoing series of performances using early iMac G3 computers as instruments that are deconstructed throughout the duration of the performance. The computers begin running recognizable software on a manipulated OS X desktop. Through the duration of the performance the computers’ circuitry becomes increasingly corrupted through manual interventions, visual distortions are created on-screen and sound material is tapped directly from the running circuitry of the computer (upside-down, exposed).

The sound and visual elements are tightly linked in time and expression, as a single gesture by a performer on the exposed circuitry of the machine has both sonic and visual results. The performance itself traces the process whereby a digital apparatus is reduced from function to raw material, marked by a point where the machines inevitably become unusable as intended, and must be sounded using various extended percussion techniques.

iMac Music continues to be presented in various configurations, including solo free improvisation with traditional instrumentalists, a percussion trio, and a solo performance with multiple instruments whose circuitry is interlinked.

In addition to being a spectacular experience for the public, he also confronts them with the imposed superfluous consumer electronics such as televisions and mobile phones. The performance is a critical reflection on the medium and thus has a motive that is prevalent in both the media art and the contemporary art world.

Fabian van Sluijs, Are nerds the new avant garde?, Motherboard/VICE

The work demands a special kind of digital literacy: encountering visual stacks and sonic triggers that were part of our everyday activity, sometimes for years on end, heightens our awareness of the techno-ecological race we’re caught up in, making obsolescence a powerful poetic resource.
Sally Jane Norman, Senses of Liveness in Digital Times, IETM

The latest version of the instruments use a parasitic sub-circuit the backseat driver, which resembles a micro-version of the patch-bays used in classic modular synthesizers. The backseat driver allows the performer to patch various signals from within the computer’s circuitry together with signals generated by an on-board function generator in order to disrupt and change flows of digital information at the hardware level. A set of fine-tipped sound amplifying measurement probes are then used as the main interface for performers to play through the layout of the G3’s circuits.Save

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Category: Improv